Yesteryear

William “Buffalo Bill” Cody’s Delayed Burial

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On June 3, 1917, under the wide Colorado sky, William “Buffalo Bill” Cody was finally laid to rest atop Lookout Mountain, just outside Denver. Although he had died nearly six months earlier on January 10, disputes over where he should be buried delayed the ceremony. Many believed he would be interred in Cody, Wyoming, the town he had helped establish, but Buffalo Bill had chosen Lookout Mountain himself. With its sweeping views of the Rocky Mountains and the Great Plains, it was a fitting resting place for a man whose life had been so closely tied to the American frontier.

Cody died of kidney failure in Denver, Colorado. His widow, Louisa, chose a burial site atop Lookout Mountain in Golden, Colorado. Because it was the dead of winter, the mountain ground was completely frozen solid, making it impossible to dig a proper grave or hew a tomb out of the solid granite. His body had to be kept embalmed and under guard at a Denver mortuary until the spring thaw arrived.

At the time of his death, Cody’s once-great fortune had dwindled to less than $100,000 (approximately $2,520,000 today). The delay was heavily prolonged by an intense political and emotional feud between two states. Cody had founded the town of Cody, Wyoming, and his 1906 will explicitly stated he wanted to be buried on Cedar Mountain overlooking his namesake town. The citizens of Wyoming felt deeply entitled to his remains.

A later 1913 will gave his widow the right to choose the burial site. She picked Colorado, though Wyoming residents loudly alleged that Denver officials and The Denver Post had bribed her with $10,000 to keep the legendary showman’s body in Colorado to boost future tourism. Because the fury ran so high, Wyoming residents openly threatened to raid the Denver mortuary and steal Buffalo Bill’s body to take it back north.

Ella Raines: The Striking Beauty of 1940s Film Noir

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Ella Raines (1920–1988) was an American actress celebrated for her striking beauty, sharp intelligence, and commanding screen presence during Hollywood’s Golden Age. With her high cheekbones, expressive eyes, and elegant yet strong features, she stood out as one of the most distinctive leading ladies of the 1940s.

Raines gained critical acclaim for her performances in classic film noirs such as Phantom Lady (1944) and The Suspect (1944), often playing independent, intelligent, and resilient women. Though her film career was relatively brief, she left a memorable mark with her sophisticated style and natural acting talent.

These captivating vintage photos capture the cool elegance, sharp intelligence, and magnetic presence of Ella Raines, one of the most distinctive and underrated beauties of 1940s Hollywood.

22 Romantic Photos of Rob Lowe and Melissa Gilbert in the 1980s

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Rob Lowe and Melissa Gilbert had a highly publicized, on-and-off relationship that lasted for six years, from 1981 to 1987. Both actors were just 17 years old when they began dating. At the time, Gilbert was already a massive television star from her role as Laura Ingalls on Little House on the Prairie. Meanwhile, Lowe was a rising talent whose career completely skyrocketed during their relationship due to “Brat Pack” films like The Outsiders.

The two met briefly at age 14 but officially began dating at 17 after crossing paths at a traffic light. In her memoir Prairie Tale, Gilbert recalled falling “instantly, hopelessly and stupidly in love.” Gilbert has described the relationship as “very tumultuous,” largely because she was unprepared for Lowe’s rapid rise to heartthrob status. She noted that female fans would completely ignore her, pushing right past her to slide phone numbers into Lowe’s pockets, which she called “hard and horrible.”

As Lowe’s fame grew, so did his reputation as a Hollywood “bad boy.” He later admitted to being unfaithful multiple times throughout their long-distance relationship, including liaisons with co-stars like Nastassja Kinski and Demi Moore. After discovering Lowe’s infidelity, Gilbert had a brief retaliatory fling with actor John Cusack, one of Lowe’s good friends, which she described as her own private “screw you.”

Despite the ongoing drama, Lowe proposed to Gilbert in 1986, and she accepted. Shortly after the engagement, Gilbert learned she was unexpectedly pregnant. When she told Lowe, he admitted he was not ready to be a father or commit to a family, which caused the relationship to unravel for good in 1987. Shortly after their final breakup, Gilbert suffered a devastating miscarriage. She wrote in her book that losing both her baby and her relationship with Lowe “hurt like hell.”

Despite the painful ending, both stars eventually found closure and managed to maintain a mutual respect and friendship in their later years. Both wrote openly about the relationship in their respective memoirs. Gilbert eventually found long-term happiness, marrying actor Timothy Busfield in 2013. Lowe has been married to makeup artist Sheryl Berkoff since 1991.

1915 Simplex Crane Model 5 Tourer: Pinnacle of the American Brass Era

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The 1915 Simplex Crane Model 5 Tourer was one of the most luxurious and exclusive American automobiles of the Brass Era. Built by the Simplex Automobile Company in New Brunswick, New Jersey, it was powered by a massive 9.7-liter (597 cubic inch) inline-six engine producing around 110 horsepower — an enormous output for the time.

Renowned for its exceptional engineering, superb craftsmanship, and elegant proportions, the Crane Model 5 was favored by wealthy industrialists and sportsmen who desired both high performance and supreme comfort. The Tourer body style featured graceful lines, large wooden-spoke wheels, and an open design ideal for long-distance touring.

With a price tag that rivaled the finest European marques, the 1915 Simplex Crane Model 5 represented the pinnacle of American luxury motoring before World War I. These striking photos beautifully capture the commanding presence, refined proportions, and undeniable prestige of the 1915 Simplex Crane Model 5 Tourer, a true symbol of American automotive excellence in the early 20th century.

Photos of Rosalind Russell in the 1930s

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In the 1930s, Rosalind Russell (June 4, 1907 – November 28, 1976) transitioned from a Broadway stage actress into a major Hollywood film star under contract with Metro-Goldwyn-Mayer (MGM). After entering the Hollywood studio system in 1934, she spent most of the decade playing supporting roles, sophisticated “other women,” or filling in for roles passed on by established stars like Myrna Loy and Joan Crawford. However, by 1939, she broke through her initial typecasting with a manic, comedic performance in The Women, cementing her status as one of Hollywood’s premier comediennes just as the decade closed.

Russell arrived in Los Angeles in the early 1930s and briefly signed with Universal Pictures. Feeling neglected there, she cleverly negotiated her release and signed a seven-year contract with Metro-Goldwyn-Mayer (MGM). At MGM, executives often used Russell as a bargaining chip. They explicitly cast her in secondary roles or used her as leverage to keep Myrna Loy’s salary demands under control. She made her official screen debut in the 1934 dramatic mystery film Evelyn Prentice, starring alongside William Powell and Myrna Loy.

Before finding her definitive comedic niche, she played serious characters, such as a fanatical, manipulative housewife in Dorothy Arzner’s Craig’s Wife (1936). She also starred in the psychological thriller Night Must Fall (1937) and the British medical drama The Citadel (1938). She gained her first wave of major critical acclaim starring opposite Robert Young in the 1935 drama West Point of the Air, proving she could carry top-billed material.

Desperate to break free from rigid, dignified typecasting, Russell aggressively auditioned five times for director George Cukor to secure the role of the venomous gossip Sylvia Fowler in the all-female comedy The Women (1939).

Stealing scenes from Hollywood heavyweights Norma Shearer and Joan Crawford, her physical comedy and frantic facial expressions in the film became a massive hit. This performance perfectly set the stage for her legendary, fast-talking role in His Girl Friday just a few months later in January 1940.

36 Fascinating Photos of Michelle Phillips in the 1970s

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After the 1971 final dissolution of her iconic 1960s folk-rock group, The Mamas & the Papas, Michelle Phillips spent the 1970s successfully pivoting into a full-time career as an actress and exploring a solo music project. The decade was a major period of reinvention for her, marked by critical acclaim on screen, high-profile Hollywood relationships, and a transition out of the shadow of her former band.

To build her career from scratch, Phillips enrolled in acting classes in Los Angeles, supported by the ongoing royalties from her music catalog. Her decade on screen was defined by several notable projects such as: The Last Movie (1971), Dillinger (1973), Valentino (1977), and Bloodline (1979).

While acting remained her primary focus, Phillips briefly returned to the recording studio to release her first and only solo studio album, Victim of Romance, in 1977. Produced by the legendary Jack Nitzsche, the album leaned into a theatrical, retro-pop sound quite distinct from the sunshine-pop harmonies of her former band. Though it didn’t achieve massive commercial success, it remains a cult favorite among fans of 1970s pop.

Throughout the 1970s, Phillips was a prominent fixture in the Hollywood social scene. Following her 1970 divorce from bandmate John Phillips and her whirlwind eight-day marriage to Dennis Hopper, she was romantically linked to some of the era’s biggest leading men, including Jack Nicholson and Warren Beatty. In 1978, she married radio executive Robert Burch, though the union ended in divorce the following year.

By the end of the 1970s, Phillips had firmly established herself as a versatile Hollywood professional, laying the groundwork for her highly successful run on television series and prime-time soap operas (like Knots Landing) in the decades that followed.

Some Candid Photographs of Angelina Jolie as a Teenager in the Late 1980s and Early 1990s

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Before transforming into a global superstar, Oscar winner, and humanitarian, Angelina Jolie’s teenage years in the late 1980s and early 1990s were marked by an early entry into modeling, a rebellious streak, and a distinct, moody aesthetic that would later define her early career.

Growing up in Los Angeles as the daughter of actor Jon Voight and Marcheline Bertrand, Jolie began modeling at the age of 14. Her early portfolio, captured by professional photographers like Harry Langdon and Sean McCall, reveals the sharp, highly striking features that would soon make her a major screen icon. During this era, her look blended classic Hollywood genetic traits, such as her famously prominent lips and high cheekbones, with the prevailing aesthetics of the early 1990s.

Jolie attended Beverly Hills High School (and later Moreno High School), where she felt isolated among the wealthy, traditional student body. During her mid-teens, she fully embraced a punk and goth subculture. She frequently wore all-black clothing, experimented with purple and dark hair dyes, and collected knives. At one point during her youth, frustrated with casting rejections and feeling disconnected from traditional high school life, she dropped out of acting classes with the intent of becoming a funeral director.

Her striking look and alternative vibe made her a favorite for music videos in the early 1990s. As a teenager, she appeared in videos for major artists, including Meat Loaf’s “Rock and Roll Dreams Come Through” (1993), Lenny Kravitz’s “Stand by My Woman” (1991), and The Lemonheads’ “It’s About Time” (1993).

By age 16, Jolie returned to the theater and committed fully to acting. Her first major breakout came shortly after her teen years ended, starring in the cult classic Hackers (1995) at age 20, where her short cropped hair and cyberpunk style echoed the edgy, rebellious identity she cultivated throughout her adolescence. Here are some candid photographs of teenage Angelina Jolie from between the late 1980s and early 1990s:

Henri Gray: Elegant Master of Belle Époque Illustration

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Henri Gray (1858–1924), born Henri Boulanger, was a talented French illustrator and poster artist active during the Belle Époque period. He is best remembered for his elegant and dynamic posters, characterized by fluid lines, refined compositions, and a distinctive artistic style that blended Art Nouveau influences with classic illustrative techniques.

Gray created numerous advertising posters for theaters, products, and events, often featuring graceful female figures, theatrical scenes, and sophisticated typography. His works were highly regarded for their artistic quality and commercial appeal, contributing significantly to the golden age of French poster art alongside masters such as Alphonse Mucha and Jules Chéret.

Though less widely known today than some of his contemporaries, Henri Gray remains a respected figure in the history of graphic design and illustration. These refined and beautifully composed posters showcase Henri Gray’s exceptional talent for blending elegance, movement, and commercial appeal, cementing his place among the notable illustrators of the golden age of French poster art.

Cirque d’été, Les Porcherons, 1886

Affiches-Pichot, Paris, circa 1890

Bal de la Grenouillère, circa 1890

Chemin de Fer Hollandais, circa 1890

Fantasies Parisiennes, La Lune à Paris, 1892

38 Amazing Photographs of Paulette Goddard on the Set of Charlie Chaplin’s “Modern Times” (1936)

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Paulette Goddard (June 3, 1910 – April 23, 1990) played “The Gamin” (Ellen Peterson), the spirited, street-smart orphan girl who becomes the Tramp’s companion in Charlie Chaplin’s Modern Times (1936). This was one of her breakout roles and her first major credited performance. She and Chaplin (who were romantically involved at the time and later married) had great on-screen chemistry as two misfits navigating the hardships of the Great Depression, industrialization, and poverty with resilience and humor.

The Gamin is a free-spirited, rebellious young woman who steals food to survive, evades the authorities, and teams up with Chaplin’s Tramp. She’s optimistic and tough, a perfect foil for the Tramp. The film is Chaplin’s last mostly silent movie (with some sound effects and his famous gibberish song). It satirizes modern industrial society while blending slapstick, romance, and social commentary.

Iconic moments with Goddard include the department store roller-skating scene, scenes by the waterfront where she shares stolen bananas, and the hopeful ending where she and the Tramp walk off into the sunrise together.

Goddard’s performance was widely praised for bringing warmth, energy, and modernity to the role. Her natural look and bobbed hair even gave her a somewhat timeless appeal. Her work in Modern Times remains permanently etched in cinema history. She subsequently starred in Chaplin’s first true sound picture, The Great Dictator (1940), before successfully establishing a highly prosperous, independent career in Hollywood.

The Amazing Story of Josephine Baker With Her Pet Cheetah

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When Josephine Baker (June 3, 1906 – April 12, 1975) burst onto the Parisian entertainment scene in 1925, she quickly became an overnight sensation, a symbol of the Jazz Age, and the highest-paid performer in Europe. Known for her boundary-pushing routines at venues like the Folies Bergère, Baker loved using her wealth to shock, delight, and construct a larger-than-life persona. Nothing solidified that eccentric, powerful image quite like her companion: a live cheetah named Chiquita.

Chiquita was originally gifted to Baker around 1925 by Henri Varna, the manager of the Casino de Paris, with the explicit intention of incorporating the wild cat into her stage acts. Baker, a profound animal lover who eventually accumulated a massive menagerie (including a chimpanzee named Ethel, a pig named Albert, a snake, a goat, and multiple dogs), fell completely in love with the cheetah.

Chiquita quickly became a crucial part of Baker’s public identity. On stage, the cheetah would lounge elegantly alongside her. However, because Chiquita was a live, unpredictable animal, the performances did not always go smoothly. During several shows, Chiquita would suddenly leap off the stage directly into the orchestra pit. While the audience found the sudden escape thrilling and assumed it was part of the exotic act, the musicians were routinely terrified, scrambling to protect themselves and their instruments from a full-grown cheetah.

The spectacle wasn’t confined to the theater. Baker regularly took Chiquita out into the public sphere to maximize the media frenzy. Chiquita was famously fitted with a custom, diamond-studded collar. Baker would casually walk the cheetah on a leash down the high-end shopping avenues of Paris, such as the Champs-Élysées, turning heads and drawing massive crowds of photographers.

The famous fashion icon Diana Vreeland once recounted a hot July afternoon in a Parisian cinema where she sat down in the balcony, only to realize that Baker was sitting right next to her, having brought Chiquita into the theater to watch a movie that featured wild desert cheetahs. When the movie ended, the cheetah bolted down three flights of stairs with Baker trailing behind on the leash, before leaping seamlessly into the back of her custom white-and-silver Rolls-Royce.

Beyond the publicity, Chiquita was a true pet. The cheetah traveled the world with Baker in her luxury cars, ate high-quality meals, and frequently slept at the foot of her bed. Chiquita remained one of the most iconic symbols of Baker’s Roaring Twenties peak, embodying the sheer avant-garde style and untamed spirit of the era’s most captivating star.